Reviews

Sublime blend of voices and orchestra

17/03/2011

PUBLICATION: Theatreview
REVIEWED BY: Paul Diamond
WHERE: St James Theatre, Wellington, 15 March 2011

First performed in 1738, Xerxes has finally made it to New Zealand, in the first fully staged professional production of any of the 47 operas written by Handel. The wait has been worthwhile – this production is splendid. 

Xerxes is very loosely based on the life of King Xerxes, an ancient Persian ruler. The opera has been compared to Mozart’s work, and Xerxes is reminiscent of the Count Almaviva in Marriage of Figaro, thwarted in his attempts to interrupt the course of true love. 

The opera begins with one of Handel’s best known arias: 'Ombra mai fù', an ode sung by the King in praise of a Plane Tree, also familiar as Handel’s largo. Counter-tenor Tobias Cole is a fine Xerxes, and his vocal range is on display in the spectacular 'Crude Furie Degl' Orridi Abissi' near the end of Act 3. 

In this production his brother Arsamene is ably played by another counter-tenor, William Purefoy, a good foil to Cole’s over the top performance. Both men are competing for the affections of Romilda, played by Tiffany Speight, whose glorious singing is a highlight of this production. 

Romilda’s mischievous sister Atalanta, angling to snare Arsamene for herself, is brought to life by Amy Wilkinson. With her expressive face, and stage presence, Wilkinson is wonderful to watch, and her rendition of 'Un Cenno Leggiadretto', where Atalanta outlines her battle plan for winning her man – “where everything else fails, guile will work” – is terrific. 

All seven soloists are strong in this production, together with the chorus, who are in fine voice, for the limited role they play in this opera. 

German early instrument ensemble Lautten Compagney, under the direction of Wolfgang Katschner, accompany the opera, and this is another reason why this production shouldn’t be missed. It’s a rare opportunity to hear baroque music played on period instruments, and the performances in this production combine seamlessly with the singing, bringing alive the drama of the opera. 

Also important in the mix are Matt Scott’s lighting design and John Verryt’s minimalist monochrome set, an effective backdrop for Trelise Cooper’s wonderfully ornate and colourful costumes. 

Handel operas are difficult to stage, placing huge demands on singers, and musicians. Audiences are also less familiar with baroque opera, with their classical settings, lengthy arias, and different conventions from later operas. But when the productions can pull it off, the effect is sublime. 

This staging delivers on many different levels, and is a sexy, humorous romp delivered at a cracking pace, and a joy to behold from start to finish. Don’t miss it – who knows when we’ll see another fully staged professional Handel opera produced here.

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Did you know?

Early opera resembled the atmosphere of a race course - chatting, food, laughter and loud comments were the norm.

During all our opera performances an English translation of the libretto is projected on screens above the stage, so you can easily follow the story.

If you are 25 years old or under you can purchase $25 tickets at the venue box office before any performance.

The world's longest opera is Wagner's The Ring Cycle, lasting over 14 hours plus intervals. That's 18 hours at the theatre.

The world's longest applause lasted for 1 hour and 20 minutes as a standing ovation. The opera: Otello starring Placido Domingo.

On average, an opera will last between 2 and 3 hours, with one interval in a two act show, and two in a three act show. Operettas and musicals tend to be shorter.

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